REMBRANDT 



C L A S S I C S IN A R 1^ S E R I I-: S 



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Portrait of Rembrandt 






THE WORK OF 

REMBRANDT 



reproduced in 
Over Five Hundred Illustrations 



WITH A BIOGRAPHICAL INTRODUCTION 
ABRIDGED FROM 

ADOLF ROSENBERG 



NEW YORK 

BRENTANO'S 

MCMVII 



LIBRARY of CONGHESS 
Two Copies Kece^vc'j 

JAN 21 1908 

OouynKi.i c.iiir> 
3e*> ■2.0, l<\0 7 
CLASS A XXC, Nu 

|«% S"8S 
COPY B. 



Copyright, igoy, by Brentano's 



REMBRANDT 

HIS LIFE AND HIS ART 

A TRUE son of his own people, with all the fibers of his being 
rooted deep in his native soil, Rembrandt, by his art, outgrew not 
only the boundaries of his country, but spread his name abroad so 
that his fame and genius are now the property of the civilized 
world. In his lifetime he rose superior to all the artists of his day; 
now that he has been dead for more than two centuries and a half, 
no other painter has yet arisen to equal him, either in originality 
of genius or in force of character. The admiration and praise he 
received from his contemporaries have grown with the years, until 
to-day he is acknowledged as perhaps the greatest master in his art. 
There is no one to whom he may be compared. He can be com- 
pared with himself alone. Raphael, in his finest masterpiece only, 
reached the height where the painter was lost in the painting; but 
Rembrandt is never visible in the least of his works. He is the 
greatest of subjective painters. He was tireless in his creative 
energy, ever putting before himself problems the solution of which 
are the legacy he left for the ages to come. His art is practically" 
the outcome of a struggle with light, or, rather, of the realization 
of the respective values of light and shade in embodying in artistic 
expression the things of life. The struggle is still going on, since 
no single human life can ever hope to achieve a complete success; 
but Rembrandt set the standard, and laid the foundation for a 
method by which victory may be reasonably assured. Two cen- 
turies have passed since Rembrandt lived, and the same problem is 
still fascinating artists. Whether we call these artists impres- 
sionists, free-light painters, luminists, nebulists, or by any other 
name, they all are guided by the same star which set Rembrandt's 
course. 

Two natures were united in this rare man. On one side the 
realism of the common every-day things of life found a ready 
5 



acceptance of its place in art; on the other, he was moved by those 
divine thoughts and visions which through his genius reflected back 
a heavenly light on the real. Rembrandt was thus, among artists, 
the greatest realist and the greatest idealist at the same time. In 
the magic of his light the vulgar becomes transfigured so that the 
repelling realism shines again in the splendor of his chiaro-oscuro. 
Wilhelm Bode, one of the profoundest critics of the peculiar qual- 
ity of Rembrandt's art, says: "His light is indeed everything but 
naturalistic; it is neither sunlight nor candlelight; it is Rembrandt's 
own light. Of course the artist began with the light from nature. 
On this he worked incessantly, so that sunlight and candlelight are, 
in his earlier pictures, given with almost naturalistic effect. But 
these he soon found to be too strong and empty, the shadows too 
black and opaque for the purpose of expressing the thing as he saw 
it. In studying the influence of the atmosphere he developed his 
chiaro-osciiro, so that his object lives, as it were, by means of light 
surrounded by the air. His ' chiaro-oscuro ' may be called the art 
of making the atmosphere visible." This is Rembrandt's own con- 
tribution to art. With Correggio the origins of light are mostly 
visible; with Rembrandt light is the very life of the thing or scene 
depicted. 

Rembrandt was born on July 15, 1606, in Leyden. He was 
the son of a miller, Harmen Gerritszoon van Rijn, and his wife, 
Neeltgen Willemsdochter van Zuytbrouck. At the time of Rem- 
brandt's birth his father was already in good circumstances. Besides 
the house in which he lived with his family, and which was situ- 
ated not far from the junction of the two branches of the Rhine — 
from which he obtained the name "van Rijn" (from the Rhine) — he 
owned several houses and the greater part of a mill for the grind- 
ing of malt for the manufacturing of beer. His appearance we 
know from a number of portraits by his son, all painted before 
1630, since old Harmen was dead in April, 1630. Rembrandt 
painted his mother even more frequently, so that we may justly con- 
clude that the relations between parents and son were of a tender 
nature. In the portraits of the mother she is represented, almost 
invariably, with a Bible in her hand. No doubt it was from her 
that Rembrandt heard those stories which incited him to picture 
their scenes. No one knew his Bible better than did Rembrandt; 
no one was so successful in finding in them so many different and 
varied motives. Rembrandt found in his mother a valuable model, 
even as Gerard Dou, his first pupil, did later. Her kind and lov- 
6 



able face is seen in position after position, and in newer lights, to 
bring out the beauty he saw in her. 

Rembrandt's parents had no thought of making an artist of 
their son. They had, as they believed, higher ambitions for him. 
The University of Leyden, founded in 1575, had become a center 
of learning. Lipsius and Scaliger taught there, and it would seem 
as if no young man could do better than emulate these great schol- 
ars. Toward this end the young man " from the Rhine " was 
entered in the university as a student of Latin in the year 1620. As 
Orlers, the Mayor of Leyden and Rembrandt's first biographer, 
said, this was done " so that, in later years, he would, by his knowl- 
edge, be useful to his city and his country." His parents were to 
be disappointed. Their son's natural bent was toward drawing and 
painting, and they were compelled to send him to a painter. He 
became the pupil of Jacob van Schwanenburch. 

What first awakened Rembrandt's artistic impulse is uncertain. 
Of first-rate works of art Leyden at that time had only two altar 
pictures by Lukas van Leyden and his teacher, Cornells Engel- 
brechtsen. It may be that Lukas van Leyden's etchings, especially 
those depicting the life of the people, had attracted Rembrandt 
more. It was not long before pencil and brush did not suf- 
fice for Rembrandt; he took up also the needle of the etcher, an 
implement he used throughout his life, so that his etchings have 
become so important a part of his art that we cannot do complete 
justice to the body of work Rembrandt achieved without including 
them. In this volume, however, we are dealing with Rembrandt 
the painter; another volume is devoted to Rembrandt the etcher. 

The paintings of his time were not of that quality to impel 
Rembrandt to follow them as examples of what art had to offer at 
its best. The only painter of any importance in the first quarter of 
the seventeenth century was Jan van Goijen; but with his work 
Rembrandt does not seem to have come into contact. Goijen was 
a landscape painter, and Rembrandt's interest in landscapes was of 
a much later growth. His teacher, Jacob van Schwanenburch, so 
far as we can judge from the only picture by him that is left, was 
but a mediocre artist. Rembrandt, however, according to Orlers, 
remained with him for three years. He is said to have made such 
progress that all lovers of art were delighted with his accomplish- 
ment, and many felt that he would become a great painter. His 
father decided to send him to the celebrated painter, Pieter Last- 
man, at Amsterdam. Although Lastman was an artist of greater 
7 



fame than Schwanenburch, Rembrandt was not able to remain with 
him longer than six months. He left Leyden in 1623, but in 1624 
we find him again in Leyden. Lastman was one of those Dutch 
painters who, during a stay in Rome, had fallen completely under 
the spell of Italian influence, and had carried the spirit with him 
into his own country. Rembrandt, who, at that time at any rate, 
had no appreciation for Italian art, found no incentive in Lastman's 
handling of it. In Rome, Pieter Lastman had become acquainted 
with Jacob Elsheimer, a native of Frankfort, and had adopted some 
of his methods. Elsheimer painted landscapes with small figures, 
illustrative of biblical or mythological scenes, which he knew how 
to harmonize naturally, and to produce some excellent light effects. 
It has been suggested that some of Rembrandt's early pictures show 
Elsheimer's influence. But the suggestion is probably the outcome 
of a conclusion drawn from the fact that Rembrandt was a pupil 
of Elsheimer's friend. 

Rembrandt remained several years longer in Leyden, working 
diligently as a student. It was not until 1627 that he felt himself 
sufficiently advanced in his art to undertake a painting of his own. 
He may, however, have practiced painting his own portrait before 
this, or those of his father and mother. A portrait of himself 
marked the beginning of his artistic career, and such portraits he 
continued to paint from time to time to the end of his life, so that 
even his last painting dated from his hand is a portrait of himself. As 
a young man Rembrandt was by no means handsome. His features 
were of a common cast, his nose heavy and his lips thick. In paint- 
ing himself he simply employed an easily accessible model which 
he could utilize for the purpose of experiments on light and expres- 
sion. With Rembrandt the study of expression was as important 
as light. In the heads of old men and in the figures of old men he 
constantly aims at the realization of expression. Let us take, for 
instance, his early picture of Paul in prison and of a banker exam- 
ining a coin by candlelight. In both pictures attention to detail is 
most marked; expression, however, is predominant; but the desire 
to seize sharp light contrasts is there also, though the result attained 
is not yet the Rembrandtian " chiaro-osniro.^' 

Rembrandt's reputation, about the year 1628, had become 
already so established that young Gerard Dou, who had already 
been studying etching and glass painting, became a pupil of the 
young master, and remained with him until Rembrandt removed to 
Amsterdam. An interesting memorial of the activity of Dou dur- 



ing this time is a painting representing his youthful teacher in his 
studio. The young Rembrandt stands at his easel, palette in hand, 
with his face toward the spectator. 

The year 1628 brought two dated pictures, " Samson and De- 
lilah," and a group of soldiers around a campfire, presumed to rep- 
resent Peter among the soldiers of the High Priest. Both pictures 
show distinct progress compared with the pictures of the previous 
year. They contain a great number of figures, and these Rembrandt 
succeeded in unifying artistically by means of light effects. As a 
composition, in the usual sense of the word, the picture amounts to 
little; but Rembrandt never did lay much stress on set composi- 
tions; it was rather the accidental, so to speak, which drew him. 
His Samson, for instance, he clothed in a fantastic oriental costume; 
an iron collar he possessed he put in the portrait of himself, and 
again in that of his father. He must have been struck with the 
effect of light on the shining metal. 

The circle of ambitious youths who worked together in Ley- 
den, and of which Rembrandt and the young Dou were parts, was 
completed by another, Jan Lievens, a former pupil of Pieter Last- 
man. In the autobiography of Constantin Huygens, the Dutch poet, 
and secretary to Frederick Henry of Prague, some important infor- 
mation is given of Rembrandt and Lievens. The young men must 
have even then attracted some attention to have merited this record : 
" One is the son of a simple carpet weaver, the other the son of a 
miller, but not of the same grist as his father. . . . Their low birth 
marks their talents as so much the more astonishing. Their teachers 
are mediocre men, hardly known, since the moderate means of their 
parents did not allow them to give them better masters. What they 
are they owe to their genius, and I am convinced that, if left to 
themselves, they will achieve great distinction. Rembrandt sur- 
passes Lievens in intellect and vivacity of feeling; the latter, how- 
ever, is superior to his friend in a certain proud dignity of appear- 
ance and a certain fullness of form. With youthful enthusiasm he 
engages on great and magnificent plans. Rembrandt, however, 
though confining himself to humble subjects, reaches a power of 
concentration for which we look in vain in the more ambitious com- 
positions of his fellow-artist." As an example, Huygens names the 
picture of Judas giving back the money to the High Priest, and 
praises especially the expression of repentance and despair which 
shakes the kneeling body of the traitor. 

This picture has been preserved, and we are able to judge now 
9 



how far Huygens's admiration was justified. We, who have the 
whole work of Rembrandt's life before us, may not quite echo 
the praise, but we can easily see how important and remarkable the 
painting must have appeared at the time it was completed. For, in 
respect to originality of conception and keenness of observation, it 
is undoubtedly an extraordinary work. Had Huygens seen the pic- 
ture that followed this Judas, his praise would certainly have rung 
loud. It is the first really ripe and entirely individual creation of 
the young master's genius. It proves how masterly Rembrandt could 
mass figures within a small space and yet preserve the power of 
expression. The picture is the " Simeon in the Temple," painted in 
1 63 1. The artist selects the moment when old Simeon takes the lit- 
tle Jesus in his arms and is in the act of praising God that he has 
seen the Saviour face to face. Most wonderfully realized are the 
looks of surprise on the people about — on the parents of the child, 
on the beggars who are drawing near, and on the High Priest. The 
efifect of the light, coming from some unknown source, is magical ; 
it penetrates into the innermost recesses of the building and plays 
upon the gold ornaments on the altar. Without, and away from the 
central group, and hardly visible in the shadow, forty-two figures 
may be counted. They move up and down a stairway leading to 
an altar where, under a high canopy, a priest is blessing a kneeling 
couple. And the artist who achieved this wonder had only entered 
on the twenty-fifth year of his age! This is the painting which tells 
us how Rembrandt spent his time in the seven years between the 
time he left Lastman and the period of his return to Leyden. 

The painting served as an indication of the aims Rembrandt 
had set before himself in his art. He was also anxious to achieve 
a realistic interpretation of the life of his time, and he found an 
opportunity to do this in his religious pieces, the scenes of which he 
laid in Dutch surroundings. A " Holy Family," painted in 163 1 
and now in the Pinakothek at Munich, is an idyllic scene of a 
Dutch homestead. The figures are life size and dressed in the dress 
of the period. In this respect they are different from the figures in 
the " Simeon in the Temple." But they are more strongly outlined 
by the greater accentuated contrast between light and shade. The 
character the two pictures have in common is in the sympathetic 
conception and the feelings of the heart which are seen reflected in 
the features of the chief figures in the painting, which appear as if 
transfigured by this means. 

The admiration which Huygens expressed for the early works 
10 



of Rembrandt seems to have been shared by others. It is not known 
to which of his pictures he owed his reputation beyond the walls 
of Leyden; but it is certain that in 1630 he had begun to form con- 
nections with Amsterdam which, at the end of 1631, resulted in his 
going to that city and settling there. Orlers, the Mayor of Leyden, 
states that Rembrandt had been induced to go to Amsterdam because 
his paintings had so pleased the people there that he received a num- 
ber of commissions for portraits and other pictures. The immediate 
instigation, however, may have been a special order which must 
have filled Rembrandt with pride. Professor Tulp, a famous physi- 
cian and one of the most respected citizens of Amsterdam, had been 
giving lectures on anatomy since 1628, demonstrating his lectures 
by means of a dead body before an assembly of surgeons. To com- 
memorate the occasion the professor desired a painting portraying 
not only himself as demonstrator, but several of his audience as well. 
The picture was intended to be hung in the hall of the Guild of 
the College of Surgeons of the city. 

Portrait painting had become in great demand in the Nether- 
lands at this time. The desire for possessing portraits may be traced 
to a personal pride in the citizens in their hard-won civic freedom 
and to the growth of guilds, unions, and corporations, the more 
important members of which could be memorialized in this artistic 
form. The " anatomical picture " was a picture of this kind, and 
Rembrandt received the honor of an order to compete in its execu- 
tion. His competitors for the prize were two celebrated portrait 
painters of Amsterdam, Thomas de Keijser and Nicolaes Elias. 

Hitherto, Rembrandt had followed his own bent in his por- 
traits of his parents and his younger sister. In accepting the trial 
of the competition he had to bear in mind that his work would be 
subjected to the criticism of the possible purchaser. Therefore it 
was that he hoped to learn from his competitors some of the meth- 
ods by which they had succeeded in pleasing their patrons, and, if 
possible, to surpass them. Between the years 1632 and 1634 he had 
so far succeeded in this aim that the portraits of this period alone 
amount to some fifty in number. In spite of the stiff formality of 
mien and pose of the merchant princes of Amsterdam, and the no 
less stiffness of their wives, Rembrandt maintained his own method 
and imparted to the portraits a new radiance by means of an accom- 
plished technique. In the ensemble of parts in his portraits Rem- 
brandt frequently displays a taste and dignity in the careful execu- 
tion of the hands, dress, and heads of his subjects that remind us of 
II 



the fashionable portraits of his contemporary Van Dyck, who was 
such a favorite with the English aristocracy. Especially good are 
the portraits of Marten Day and his wife, executed in 1634. More- 
over, portrait painting on a large scale was a good training for Rem- 
brandt. Up to this time he had confined himself to the delineation 
of small figures — except " The Holy Family," now at Munich. 
Now he was compelled to undertake large figures and narrow his 
genial spirit within the limits of his set purpose. This is what por- 
trait painting did for Rembrandt. As Bode correctly states it: 
" His occupation as a portrait painter taught the young artist how 
to win a true and simple presentation of form and character with 
a full mastery of technique, without losing his individuality." 

In his " Anatomical Lecture of Dr. Tulp," imperfect as it may 
be in some details, Rembrandt succeeded, more than any of his 
predecessors, in connecting his figures, by a common interest, into 
a vivid group; in bringing them closer together by means of a uni- 
form lighting up, and at the same time imparting a greater variety 
of expression, while being careful to maintain a certain likeness in 
the different faces. The officers of the Guild of Surgeons insisted 
that their names should be handed down to posterity; to satisfy this 
demand one of the figures holds a paper in his hands, on which is 
painted the names of those portrayed, and the numbers from i to 8 
correspond with the numbers painted on the different figures. The 
foreshortening of the corpse is the weakest part of the painting, and 
is very carelessly treated. This is understandable when we remember 
that opportunities for study on a dead body were, at that time, rare. 
Rembrandt, however, did not lose sight of this point. When, in 
1656, he received a similar order, also for a Guild of Surgeons, he 
made it a special point to portray the corpse in a position more diffi- 
cult to paint, and yet far better executed in the foreshortening. This 
was the " Lecture of Dr. Johannes Deymann," which, in 1723, was 
almost completely destroyed by fire, though parts of it are still pre- 
served. The corpse in its excellent foreshortening was very much 
admired by those who saw the painting before the fire. 

A female profile of the year 1632 makes us acquainted, for the 
first time, with the personality who so decisively entered into the 
life of Rembrandt and, even after her early death, had so great an 
influence on the trend of his later life. When Rembrandt went to 
Amsterdam he lived at first in the house of his former friend, the 
art merchant, Hendrik van Uijlenburgh. It was at this house, 
most likely, that he met Saskia Uijlenburgh, who, in 1632, had 
12 



come to visit her married sister, the wife of Jan Cornelisz Sylvius. 
Saskia was a cousin of Hendrik, and was eighteen years old at the 
time Rembrandt met her. Rembrandt painted a portrait of her in 
1632, probably at her uncle's request. By the time she was twenty, 
the growing beauty of the young woman had so impressed itself on 
Rembrandt's heart that he became engaged to her. From a sketch 
of her we learn, in Rembrandt's inscription below it, that the en- 
gagement took place on June 5, 1633. They were married, accord- 
ing to the documents of that time, which are still in existence, on 
June 22, 1634. 

For the ten years of their married life Saskia became a subject 
for his most cherished and most finished paintings. He represented 
her in full face, in profile, with the picturesque " Rembrandt hat," 
adorned with jewels and chains of gold, and in the richest of cos- 
tumes his increasing prosperity permitted him to purchase. She 
was undoubtedly a continual delight to the man, who never wearied 
of caressing a canvas on which to fix her charm, grace, and beauty. 
Probably through this affection Rembrandt indulged himself in the 
purchase of art curios, precious stones, pearls, and objects of value. 
All his spare money went to the acquisition of these valuables, until 
in the end his passion drove him to financial ruin. Saskia had 
brought her husband a fortune of 40,000 gulden, quite a consider- 
able sum for that time, and for that reason, in the happiness of the 
first bliss of married life, she may not have thought of restraining 
her husband's extravagance. Later, however, she was compelled to 
bear the brunt of some severe criticism passed on her by her rela- 
tives, who accused her of squandering her patrimony on the jewels 
and personal ornaments with which she was decorated in the por- 
traits Rembrandt made of her. They even went so far as to bring 
a suit against her on this ground. Rembrandt sued them in return 
for defamation of character, but he was nonsuited in July, 1638. 

To Rembrandt the jewelry with which he adorned his wife 
was an artistic incentive by means of which he might solve the vari- 
ous problems of color. He felt he could indulge himself in this, 
since the change in his fortune had made him independent of an 
income from portrait painting. He evidently took an intense inter- 
est in his wife's appearance and toilette. There is not a portrait of 
her but what evinces a loving care in the realization of all details 
which tended to enhance the effect of light reflections on the fea- 
tures and form of his beloved spouse. In Buckingham Palace is a 
painting of Rembrandt which was once entitled " Mayor Pancras 
13 



and his Wife." It is undoubtedly a picture of himself and Saskia. 
Rembrandt never painted portraits of customers in other than the 
dress of the time. In this picture he is ofifering the lady a pearl 
necklace, while she is shown as gently putting it away from her. 
Every detail in this painting shows the interest he took in his wife's 
dress. If we now take a painting of a shipbuilder and his wife, 
executed about the same time, we shall see how different is the treat- 
ment. In the portraits the unifying motive of the figures is scarcely 
evident; in the latter the motive toward unity is everywhere preva- 
lent. Can there be anything so indicative of happy family life as 
the tender solicitude shown to the old lady as she hands her hus- 
band a letter which has just come for him? The efifect is absolutely 
convincing, and the portraits become an appealing picture. Even 
more beautifully is this realized in the portraits of the Mennonite 
priest Cornelis Anslo and his wife — a painting which must rank 
with the historic masterpieces of art. 

In his portraits of himself and his wife Rembrandt troubled 
himself little with fidelity to likeness. He was more concerned with 
realizing effects in color than to care for recording the exact shade 
of Saskia's hair. He used her simply as a model on which and by 
means of which to test his progress in color effects. The result was 
that by 1640 he had mastered them all completely. 

In spite of his prosperous financial position, Rembrandt in- 
dulged himself little in luxurious living. He was always a hard 
worker, and, apart from the portraits of himself and his wife, this 
period brought forth a goodly number of biblical and historical 
pictures. Among these may be mentioned: "The Unbelieving 
Thomas" (1634), "The Sacrifice of Abraham" (1635), "Abra- 
ham and the Three Angels" (1635) — all three in the Hermitage 
of St. Petersburg; " Sophonisbe " (1634), with the face and the 
jewels of Saskia, in Madrid; two pictures from the life of the 
"Jewish Hercules," "Samson Threatening his Father-in-Law " 
(1635, Berlin), and " Samson Blind" (1636, Frankfurt-am-Maine), 
to which were added in 1638, "Samson's Marriage" (Dresden), "The 
Farewell of the Angel to the Family of Tobias" (1637, Louvre, 
Paris), "The Parable of the Workers in the Vineyard" (1637, St. 
Petersburg), " Christ Appearing to Mary Magdalen " (1638, Lon- 
don), "The Holy Family" (1640, Louvre, Paris), "Meeting of 
Mary and Elizabeth" (1640, London), and, finally, "The Sacri- 
fice of Manoah " (1641, Dresden). 

A special and separate group of the religious paintings of this 
14 



time are five pictures of medium size which Rembrandt painted, 
between 1633 and 1639, for Prince Fredericli Henry of Orange. In 
contrast to Rubens, upon whom orders from kings and princes were 
literally showered, this is the only order that Rembrandt ever received 
from a ruling prince. Had it not been for the governor's secretary, 
Constantin Huygens,the order for even this picture might never have 
been given Rembrandt. But Huygens had already proclaimed Rem- 
brandt's genius and saw to it that the actual contract for the paint- 
ing was carefully drawn. The only letters from Rembrandt which 
have come down to us are the six from the artist to Huygens refer- 
ring to this particular order. The five pictures are all scenes of the 
Passion of Christ, and, as the size indicates, were intended for deco- 
rating a single room, probably a private chapel. In 1633 Rem- 
brandt had already finished the " Raising of the Cross " and " The 
Descent from the Cross." Later, in 1636, came "The Ascension 
of Christ," and finally " The Resurrection " and " The Entomb- 
ment." Looked at after a judgment derived from a study of Rem- 
brandt's entire work, we can hardly give the first place to these. 
Bode justly calls attention to the crowded composition, to the forced 
and exaggerated pathos, and to a certain rudeness and crudeness 
which are evident. 

There can be no doubt that these defects were not evident to 
his contemporaries. The pictures made a great impression, espe- 
cially because, for the first time, a Protestant painter had awakened 
that feeling of devotion which had hitherto been expressed by 
painters of the Catholic Church. Rembrandt himself, as we can 
see from his letters, was very proud of these pictures, for each of 
which he received 600 gulden. " The Descent from the Cross " was 
a special favorite, and Rembrandt himself seems to have considered 
it as the masterpiece of the series. He repeated the picture on a 
greater scale, though with many changes as to details, in 1634. 

To show his gratitude for the services rendered him by Huy- 
gens, Rembrandt presented him with a great picture, of which, how- 
ever, he only mentions the size. From the measurement (10 X 8 
feet) we infer that the picture must have been " Samson Blind." 
" Hang this picture," he says at the end of the letter accompany- 
ing the present, " in a strong light, so that one can look at it from 
a distance." He intended that his pictures should be seen from a 
distance. As he himself is said to have tersely put it, his pictures 
were not painted to be smelled. 

Rembrandt, however, had another reason for obliging Huygens. 
15 



We see from one of his letters, dated January 27, 1639, that he was 
anxious to receive the balance of the amount due him. The money 
was wanted because Rembrandt had finally decided to buy a house 
of his own. On January 5, 1639, he had closed a contract by which 
he acquired possession of a house in the " Breestraat,'' situated in 
the center of the Jewish quarter. Of the total amount of 13,000 
gulden, he had to pay the first quarter at the end of a year, and the 
balance in five or six years; so that his anxiety for money was not 
without reason. Evidently there was some basis for the complaint 
brought against him by his relatives as to his extravagant way of 
living. 

His temporary embarrassment, however, did not prevent Rem- 
brandt from being present at the frequent auctions and making pur- 
chases for his art collection. In this way he came across a pen 
drawing of a picture of Count Castiglione by Rafifael. In the spring 
of 1639 an art merchant had arrived at Amsterdam with a whole 
shipload of Italian paintings, valued at 50,000 gulden, which were 
put up for auction on April 7th. Rembrandt was present at the 
auction and had the chagrin to see the Rafifael go for 3,500 gulden, 
an enormous sum for a man in his embarrassed financial condition. 

For the Italian artists Rembrandt undoubtedly had a great 
respect and admiration. His collection included paintings of Gior- 
gione, Palma il Vecchio, and the elder Bassano. Of Rafifael he 
possessed a Madonna, the study of a head, and four volumes of 
etchings. The Madonna della Sedia he copied in a free pen draw- 
ing. In his latest expressions of color Rembrandt approaches Titian 
and the Venetians. Undoubtedly Rembrandt studied the Italians 
with care and profit; but what he gained from them is so transfig- 
ured in the light of his own genius and character that foreign influ- 
ences are lost to the eye. It is Rembrandt only who remains for us. 

The Prince of Orange seems to have been highly satisfied with 
the Passion paintings, since some years later he ordered Rembrandt 
to supply two more to the series, namely, " The Adoration of the 
Shepherds" and "The Circumcision of Christ." "The Adoration 
of the Shepherds," completed in 1646, is with the other five paint- 
ings in the Pinakothek in Munich; " The Circumcision " cannot be 
located with certainty. 

In September or October, 1640, Rembrandt's mother died. The 

year before he had painted a portrait of her as a last expression of 

his filial love. In his own home, also, death had entered several 

times and had cast deep shadows over an otherwise happy family 

x6 



life. Of his three children, born to him since 1635, none had lived 
very long. We can therefore appreciate his joy when, in 1641, an- 
other son was born, to whom was given the name of Titus, in honor 
of Titia, a sister of Saskia, who had died only a short time before. 
About the same time Rembrandt received an order which brought 
him in a good deal of money, but which proved to be a source of 
much vexation of spirit. 

Ten years after the completion of his first guild picture, " The 
Lecture of Dr. Tulp," Rembrandt was asked to paint a picture for 
another guild — the Guild of Sharpshooters of the Amsterdam Na- 
tional Guard. It was ordered by Captain Franz Banning Cocq. 
The order produced what was known as " The Night Watch," the 
largest and, perhaps, the most characteristic painting achieved by 
Rembrandt. It was called " The Night Watch " through an igno- 
rance on the part of critics as to its origin. We know now how it 
came to be painted; but it is still called by the old name. 

In painting the picture of the anatomical lecture Rembrandt was 
mainly moved by a desire to surpass his rivals in the competition. Since 
that time ten years had passed, and Rembrandt had changed not only 
as an artist but as a man. He had gained finer and greater freedom of 
expression for his artistic sense, and it was no longer trammeled by 
considerations for his customers. In accepting Captain Cocq's 
order he determined to show the burghers of Amsterdam and the 
artists of his day what he really could do if left to his own ideas. 
" The Night Watch " was the result, and it is a masterpiece. The 
captain has just ordered the drummer to sound the signal for the 
men to fall in; each man quickly seizes his musket, pike, or lance, 
while the captain, in conversation with the lieutenant, is stepping 
into the sunlit street. Evidently the company is about to set out for 
a field day or a target practice. Including the drummer there are 
seventeen figures, the faces of which are distinctly visible. Each 
man of the company paid his share of the cost of the painting, 
namely, 1,600 gulden, and expected, no doubt, to have a share of the 
canvas. But Rembrandt sacrificed this to the achievement of his 
artistic creation. It mattered little to him how he offended any par- 
ticular vanity so long as his work represented his ideas, both as to 
disposition and color. He even introduces two boys and a girl in 
the act of running between the soldiers in their excitement to fol- 
low the march, and this only to add a realism and obtain a freedom 
which no other artist would have conceived for a set composition 
of portraits. 

17 



This picture, which we admire as one of the highest achieve- 
ments of artistic genius, was not so valued either by Rembrandt's 
contemporaries or the guild which ordered it. It raised such dis- 
satisfaction among those chiefly interested that Rembrandt's repu- 
tation sufifered severely, and the favor of the public turned very 
quickly from him. Banning Cocq and his lieutenant could not com- 
plain about the position given them, and the prominent effect pro- 
duced by their figures ; but the rest, who had paid their three hundred 
gulden apiece, found ample cause for grumbling and discontent at 
the treatment they had received. To atone for this a suggestion was 
made to add the shield with the names of the members on it. The 
truth is, however, as the painter Samuel van Hoogstraaten, a pupil 
of Rembrandt's at that time, said, the picture was utterly different 
from any painting that had been done in Holland up to that time. 
Hoogstraaten, though he writes in admiration, could not help being 
influenced by the general opinion, and felt that Rembrandt ought 
to have put more light into it. He seems to have had the feeling 
that his master had gone to the extreme of his method. 

Rembrandt himself did not feel the disappointment so keenly. 
He had other troubles to distress him, and almost the greatest of all 
sorrows drowned him in despair in the very month in which he 
delivered the painting. After the birth of her son Titus, Saskia 
had been seriously ill, and in 1642 her illness had made such prog- 
ress that she decided to make her will, which was dated June 5th. 
She made Rembrandt not only sole heir to her entire fortune, esti- 
mated at about 40,000 gulden, but she left him a free hand in 
managing it for her son. She expressly requested the " Court of 
Orphans " not to interfere. Only in the event of a second marriage 
or in the event of his outliving her son did she make any grant in 
favor of her relatives. But even in this matter a free hand was left 
to Rembrandt. She knows, she says, that he is an honest man, and 
that he will punctually live up to his obligations. A few davs later, 
on June 19th, Saskia was buried, and for many years after, the sun- 
shine was absent from the house in the Breestraat. Rembrandt lived 
in her love in the portraits of her he still continued to make. In 
the year following her death Rembrandt finished the beautiful pic- 
ture, now in the Berlin Gallery, the last one for which Saskia sat. 
Gradually, as the years grow, her face fades from his memory; but 
in her place comes the little Titus, who from 1650 begins to appear 
in the paintings of the great master. But the death of Saskia did 
not interrupt the flow of Rembrandt's artistic output. Rather it 
18 



seemed to act as an incentive, as if he found consolation for his sor- 
row in the labor of his mind and hand. In the period which closes 
with the year 1656 were produced a large number of paintings and 
the majority of his etchings. His art itself also grew deeper and 
clearer. 

Rembrandt now entered on a new field, one in which he had 
practiced but little — namely, landscape. In this also he had no 
thought of competing with the professional landscape painters of 
his day, who carefully sought to copy nature. As with the human 
face, the landscape became to Rembrandt the interpreter of his feel- 
ing. Sometimes he was satisfied by a simple rendition of the motive, 
as in the winter scene, now in Cassel; but his highest aim was to 
enter, as it were, into the soul of nature and reveal its mysteries. In 
this Rembrandt may be regarded as the first landscape painter in 
the modern sense. No Dutch landscape painter, not even Jacob van 
Ruisdael, who ranks high as a great poet of nature, can show the 
poetic power and the dramatic force as we find it, for instance, in 
the landscape with the Good Samaritan, or in the landscape with 
ruins on the hill, or in the landscape with the Obelisk, and in the 
celebrated mill, now in the gallery of the Marquis of Lansdowne. 

Since his dear wife's death the house in the Breestraat had lost its 
real light, and to him was lost his principal source of inspiration. 
Rembrandt looked around his neighborhood for subjects for his brush, 
and found among the people of the Jewish quarter some excellent ma- 
terial. Early in the thirties his interest in biblical subjects had been 
lively, and he was convinced that he could give to biblical scenes 
no truer interpretation than by taking the Jews of his town for 
models. He had already a sketch book filled with studies of Jewish 
heads, and a splendid one may be seen in " The Rabbi," dated 1635, 
which is in the gallery of the Duke of Devonshire. " The Rabbi " 
of the Berlin Gallery was done ten years later, while the studies of 
old Jews to be seen in the Dresden Gallery and the Hermitage at 
St. Petersburg were a full decade later still. 

Of Rembrandt's paintings of biblical subjects those with small 
figures are more likely to please than the larger ones. The latter 
are weak in conception and have a less color effect than the former. 
The best may be here given: " Bathsheba Bathing " (1643, Hague), 
"The Adulteress before Christ" (1644, London), "The Blind 
Tobias" and "The Dream of Joseph" (both 1645, Berlin), "The 
Two Holy Families" (1645 ^^i^ 1646, St. Petersburg and Cassel), 
"The Adoration of the Shepherds" (1646, London), "Susanna 
19 



Bathing," with a carefully worked out background (1647, Berlin), 
" Christ and the Disciples at Emmaus " and " The Good Samari- 
tan " (both 1648, Paris), "Vision of Daniel" (1651, Berlin), 
" Christ and Mary Magdalen " (1651, Braunschweig), and, finally, 
"Joseph and Potiphar's Wife " (1655, Berlin). The last picture, of 
which a weak replica is in St. Petersburg, shows the artist's love of 
rich coloring wonderfully harmonized by the Rembrandtesque treat- 
ment of light. The vivid characterization which avoids any sugges- 
tion of dramatic sentimentality is especially attractive. Rembrandt 
began once more to accept orders for portraits. He would probably 
have made it a matter of more special interest had he not been dis- 
appointed at the failure of " The Night Watch." This entrance on 
a new lease of portrait painting produced a masterpiece which may 
rank even among the best of Rembrandt's work. It is the portrait 
of the widow of the Admiral Swartenhout, painted in 1642. This 
is Rembrandt without any of his fantastic effects. It is as true to 
life as the living person herself. The tightly shut lips evince an 
energy of character which speaks her very soul. An incomparable 
art has here embodied and reflected in the features and countenance 
of this great old lady what a whole life full of joys and sorrows had 
written in her heart. 

Saskia's death may have impelled the artist on his upward way; 
but to the man it acted as a descensus Avcrtii. The purchase of his 
house had placed a heavy burden on him, while his domestic life 
was much distressed and troubled because of the strangers on whom 
he had to rely for help. Up to the year 1649 Rembrandt's house- 
keeper was his son Titus's nurse, Geertje Dirck. She was the widow 
of a trumpeter in the army, and had kept house for him to their 
mutual satisfaction; so much so, indeed, that she left a will in favor 
of her little charge in January, 1648. Then came misunderstand- 
ings and quarrels. Evidently the woman had conceived hopes that 
Rembrandt had no intention of fulfilling. Whatever may have been 
the cause for their dissension, it is known that in October, 1649, 
Rembrandt, in the presence of two witnesses in a court, made good 
by settling a life annuitv on the woman. She refused to accept this 
and emphasized her refusal with vituperative violence. This dis- 
tressful matter was only closed a year later when the woman became 
so insane that it was found necessary to place her in an asylum. 

To replace her in his house Rembrandt chose Hendrickje Stop- 
pels, a young woman of twenty-three, who had been one of the wit- 
nesses to the settlement in the previous case. She had been in his 
20 



household as a servant, and was now given the care of the little 
Titus, whose weak constitution required careful attention. Hen- 
drickje became intimate with Rembrandt, and in August of 1652 
bore him a child, which, however, died shortly after. 

So far as a female model was concerned Rembrandt had now 
no need to go farther than his own home. William Bode, the art 
critic, has brought together a group of pictures of the master in 
which the face of Hendrickje is easily evident. Her first portrait 
is the wonderful half-length painting, executed in 1652, and now in 
the Louvre. The play of imagination evinced in the Saskia portrait 
is here in its old richness. She is dressed in a fantastic costume and 
is almost covered with jewels. She cannot be called beautiful, but 
the youthful freshness, the tender, deep eyes, and the finely shaped 
mouth are very appealing. Evidently Rembrandt found great pleas- 
ure in painting this portrait. He painted her also sitting on a chair, 
just after she had left her bath, draped in a mantle. 

Another picture shows her lying in bed, with rays of the morn- 
ing's sun playing on her partly exposed body. In the " Bathing 
Woman " she is preparing to enter her bath. This last was painted 
in 1654, the same year in which he finished his " Bathsheba," where 
again Hendrickje's attractions are displayed. The lower part of 
the body may not pass the strictest of examinations, but the upper 
part reminds us of Giorgione, Titian, and Correggio. When we com- 
pare the model for the " Susanna " of 1647 with this " Bathsheba " we 
may get an idea of the value to him of Hendrickje as a model. She 
appeared again in the somewhat humorous " Venus and Amor," 
not in the nude, as she should have been painted, but in the gorgeous 
apparel Rembrandt loved so well. 

In spite of Rembrandt's peculiar relation to Hendrickje his 
friends remained faithful to him. It was not quite possible for 
Rembrandt to alter the relation by marrying Hendrickje, since by 
doing so he would have lost half the fortune Saskia had left him; 
and in his then position he could not have paid it. At a critical 
stage Saskia's relatives stepped in and compelled Rembrandt to fix 
legally the fortune left his child Titus by means of a recorded in- 
ventory. If Rembrandt's friends took no notice of his intimacy 
with Hendrickje, the Church did. In 1654 ^he was cited before the 
Consistory of the Church, given a warning, and excluded from par- 
ticipation in the Communion. In October of this year she gave 
birth to a girl, who was baptized Cornelia, in memory of Rem- 
brandt's mother. No serious consequences resulted from the warn- 
21 



ing of the Church, and what gossip was rife may have died out, 
especially as Rembrandt had removed from his house in the Bree- 
straat to a house in another part of the city. Later in life Hen- 
drickje must have considered herself as Rembrandt's legal spouse, 
since, in a lawsuit, she called herself the " wife of the painter, Rem- 
brandt van Rijn." 

About the middle of the fifties his son Titus began to appear 
in Rembrandt's paintings and etchings. In the private gallery of 
Rudolph Kann is a fine portrait of the boy done in 1655, probably 
the best picture of the lad. " He looks like a soft and dreaming 
Hamlet," says one of Rembrandt's biographers. 

In the year 1655 the catastrophe which was to end with Rem- 
brandt's financial ruin had already begun to cast its shadows. In 
1653 and 1654 he was several times compelled to borrow sums of 
money to the total amount of 10,000 gulden. On one occasion an 
old admirer of his, Jan Six, had helped him out, and out of grati- 
tude, or perhaps at Six's order, Rembrandt painted the famous por- 
trait which shows Six with a red mantle over the gray suit. It would 
appear as if Rembrandt had finished the painting at one sitting. 

The loans did not suffice to satisfy his creditors. Finally the 
Court of Debts declared Rembrandt insolvent and took a careful 
inventory of his entire belongings, a record which is still in ex- 
istence. We see from it how large was the collection of valuable 
furniture, cloth, costumes, arms, armor, and other rare objects he 
had made, and how rich his art collection was. In addition to 
specimens of the Italian school, his own countrymen were repre- 
sented by Rubens, Van Dyck, and Brouwer. A large part of the 
collection consisted of etchings. Those after Rafifael extended to 
four volumes, and of Callot's etchings he had one volume. Of 
books he had but a few. Apart from a Bible, his favorite book, 
he possessed only a tragedy, " Medea," by Jan Six, several High- 
German books illustrated with woodcuts, and several volumes with 
pictures of antiques, statues, buildings, etc. Finally, a collection 
of antique sculpture, partly originals, partly copies, is mentioned. 
Among these is a Laocoon, an Amor, a bust of Homer, and several 
busts of Roman emperors. The use Rembrandt made of these 
antiques in his pictures is shown by his painting of Homer (Hague) 
and the painting of a man of letters in which the Homer bust is 
shown. In December of the following year the auction took place, 
or at least was begun, and Rembrandt was compelled to leave the 
house in the Breestraat. which also had to be sold. He took lodg- 
22 



ings in the " Kaiserkrone," a hostelry in the Kalverstraat. The first 
attempt at realizing by auction proved so poor in receipts that the 
disposal of a part of the collection was put ofif for the following 
year. Money was scarce and Holland was suffering from the 
wounds of the great War of Independence. Later, in September, 
1658, when the balance of goods was sold, the amount realized was 
no larger. The complete sale did not bring quite 5,000 gulden; 
but the house was sold for 11,218 gulden to a shoemaker. 

Rembrandt's troubles were by no means at an end. He was 
still liable to his creditors not only with all he would ever possess, 
but with all he would ever earn by his art. To save at least the 
fruits of his art, Titus and the brave Hendrickje conceived the idea 
of opening an art store and taking Rembrandt in as a partner. By a 
contract, signed December 16, 1660, they bound themselves to give 
Rembrandt lodging and board, while he bound himself to give them 
his art as payment. They thus saved Rembrandt from the persecu- 
tion of his creditors. 

The money obtained by the auction and the sale of the house 
became now the subject of a long litigation. One half belonged to 
Titus according to Saskia's will. The fight was a long one, but 
Titus finally won, and on November 5, 1665, 6,952 gulden were paid 
over to him. 

It can'be easily understood that in such a time of depression and 
suffering Rembrandt's creative spirit was not very active. What he 
did reflects the spirit in which he worked. The color is darker, 
heavier, and monotonous, and he made no more effort to harmonize 
the colors. Still, between 1655 and 1660, some important works 
came from his brush. Among these are: "The Lecture of Dr. 
Deymann " and " Joseph and Potiphar's Wife." The last picture is 
again rich in color. The same can be said of the beautiful study 
of a slaughtered ox (Louvre), also of "The Adoration of the 
Kings" (London) and "The Blessing of Jacob" (Cassel). 

What Rembrandt looked like at this time may best be seen 
from the picture of himself painted in 1658, now in Vienna. He 
had lost the rich costumes of his wardrobe, so that he paints him- 
self in a simple dress, adding only the few local colors which he 
needed to correspond with his feelings. Toward the end of the 
fifties, owing to lack of orders, he began painting portraits of him- 
self once more. The pictures are remarkable of their kind; but they 
show how terribly Rembrandt had changed. The face is bloated, 
the body heavy, and the eye weak and lusterless. It has never been 
23 



proven that Rembrandt accelerated this change by drunkenness. It 
seems more likely that the painful labor of etching in poor, badly 
lit rooms, in which he lived after his expulsion from his house, had 
affected his eyesight. The numerous pictures of himself during the 
last decade of his life show Rembrandt as dressed in a dirty walking 
coat, on which he is said to have wiped his brush; but he is still erect 
and working, with brush and palette in his hands. 

The arrangement of Hendrickje and Titus made it possible to 
obtain a quiet time for work. Rembrandt needed quiet, especially 
between the years 1661 and 1664, when he was at work on two 
large orders. One, a picture for the City Hall, was to be painted 
by one of his pupils, Govaert Flinck; but, as he died, Rembrandt 
took his place. He seems to have had the same trouble with this 
painting as he had years before with " The Night Watch." The 
picture was supposed to represent the conspiracy of Claudius Civilis, 
who, at a great feast, persuades the chiefs of Batavia to shake off 
the yoke of the Romans. Rembrandt laid more stress on the fanci- 
ful than on the historic element, which displeased the heads of the 
city. For a short time it hung in its destined place, but was soon 
removed and cut into several parts. One part, three meters wide 
and two meters high, about one quarter of the whole painting, is 
now in Stockholm. The second picture was also for a corporation. 
It was finished in 1661, and represents the Syndics of the Drapers, 
a body of gentlemen whose duty it was to examine the cloth manu- 
factured by the corporation as to quality, and put a lead seal on the 
pieces approved. Six men in black are sitting around a table cov- 
ered with a red Smyrna carpet — that is the whole painting. Rem- 
brandt remembered the unpleasant experience of "The Night 
Watch." Each of those portrayed has received his full share of 
prominence; but Rembrandt remained faithful to his principles. 
The breadth of pictorial treatment he has surpassed only in two 
later pictures, the so-called "Jewish Bride" and a family group, 
most likely the last picture painted to order. 

These paintings show that Rembrandt's strength remained un- 
broken. He was still on the lookout for new problems to solve, when 
death took the brush from his hands. 

Shortly before 1664 Hendrickje had died, and in September, 
1668, Titus had also passed away. Utterly alone, forgotten by those 
who had once admired him, Rembrandt died in the first week of 
October, 1669. That he died in greatest poverty is seen by the 
inventory, taken after his death, which shows that he left nothing 
24 



except his clothing and tools. Thus ended a career begun under 
the most favorable auspices. 

Rembrandt had been so completely forgotten, even during his 
lifetime, that his pictures could be bought for six cents apiece. The 
price, however, soon rose to five dollars, and later to several hun- 
dred dollars. From that time on the price has risen steadily, and now 
a picture like " The Night Watch " may no I'onger be valued in any 
money. 

Although Rembrandt had a great influence over the art of his 
time, this influence was short-lived. His pupils were more circum- 
spect than their master. They saw that Rembrandt's style was 
unfashionable and did not pay. But if for a time his influence had 
appeared to pass away, and even his memory become faded, a great 
revival soon set in, and by the middle of the eighteenth century 
every etcher looked up to Rembrandt as his great master and model. 
Collectors in England began to gather Rembrandt's works with 
eager zeal, with the result that about one third of Rembrandt's 
work is to be found in that country. After the middle of the nine- 
teenth century Germany and France likewise turned their attention 
to Rembrandt. But his full greatness became revealed by reason of 
the great Rembrandt exhibitions of 1898 and 1899 in Amsterdam 
and London. Here many heretofore unknown pictures were shown 
for the first time. Now, every newly discovered painting adds but 
a fresh leaf to the laurel wreath on the miller's son of Leyden. 



REMBRANDT 



ABBREVIATIONS AND EXPLANATIONS 

H. = Height 
B. = Width 



AuF HoLZ = on wood 

AuF LEiNWAND = on cativas 

AuF ScHiEFER = on slate 



The figures giving the sizes of the paintings stand for metres 



:mm 






"^P^s^ 


^m 






.:-:"■'% 


■^ 




^4^^ 


% 




M 




M* ' 










aJi>9wlil^^H 








L 






- ^ 




H 


M 





Simson und Delila 



Samson and Dalila 162S 

Nach einer Graviirc im Verlage von Schelte 



Samson et Dalila 




VVIcn, Frau Rathin Mayer 

A Man of Letters 



Nach einer Aufnahme von J. 




Paris, Madame Andrt-Jacquemart Auf Holz, H. 0,39, B. 0,42 

Christus und die JUnger in Emmaus 
Christ and the Disciples of Emmaus Urn 1629 Le Christ et les disciples d'Emmaus 



Scheltema & Holkema, Amsterdam 




Rembrandt 2 




2 I 





♦ Paris, F. Kleinberger 

Portrait of Rembrandt 



Selbstbildnis 
Um 1629 



Portrait de I'artiste 



Verlagsanstalt F. Bruckir 




i 3 

E I 





■s. ^ 

I E 



=i s 




i = 



<, 



r 





Der Jude Philo 



The Jew Philo (Bildnis von Rembrandts Vater) 

(Portrait of the Father of Rembrandt) 1630 



Le juif Philo 
(Portrait du pere de Rembrandt) 




^Petersbuig, Graf Slroi^; 



Jeremias iiber die Zersturung Jerusalems trauernd 
Jeremiah mourning for the Destruction of 1630 Jeremie pleurant la destruction de 

Jerusalem Jerusalem 




Berlin, James Si 

Portrait of a young Girl 



Bildnis eines jungen Madchens 

Urn 1630 



Portrait d'une jeune fille 




Ruhe auf der Fhicht nach Aegypten 
The Rest during the Flight to Egypt Um 1630 Le repos pendant la fuite en figypte 




New York, Ch. T. Yerkes 

The Raising of Lazarus 



Die Auferweckung des Lazarus 

Urn 1630 



Auf Holz, H. 0,-lI, B. 0, 

La resurrection de Lazare 




A young Woman 



Junge Fran in pliantastisclier Traclit 
a fanciful Dress Um 1630 Jeune fern 



en costume dc fantaisie 




Die heilige Familie 



The Holy Family 



H. 1,93, B. 1,30 

La sainte Familie 



Nach einer Aufnahme von Franz HanfstaengI, Munchen 




Simeon im Tempel 
Simeon in the Temple 1631 Simeon au temple 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 








•5 D = 




'London, J. Pierpont Morgan Auf Holz, H. 1,20, B.0,90 

Bildnis des Nicolaus Ruts 
Portrait of Nicholas Ruts 1631 Portrait de Nicolas Ruts 

Nach einer Gravure im Verlage von Scheltema & Holkema, Amsterdam 




*Vogelenzang (Holland), Jonkheer Texeira de Mattos 

Bildnis eines jungen Mannes 
Portrait of a young Man 1631 



Portrait d'un jetine homme 







^ 


r 


^ 


> 




[ 


^w 


# 


^^ 


«^ 






f 


I 




^x 


i ' 


r 




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■^ Haag, Museum 

Anatomie des Professors Tulp 
The Lesson of Anatomy of the Professor Tulp (Ausschnitt) La le?on d'anatomie du professeur Tulp 

(Detail) (Detail) 

Nach einer Aufnahme-von Franz Hanfstaengl, Miinchen 




Anatomie des Professors Tulp 

The Lesson of Anatomy of the Professor Tulp (Ausschnitt) La levon d'anatomie du professcur Tulp 

(Detail) (Detail) 

Nach eincr Aufnalime von Franz Hjnfslaengl, Muticlien 




Dalskairth (Schottland), Mr. Coats 

Portrait of a young Man 



Bildnis eines jungen Marines 

Um 1632 Portrait d'un jeune liomrae 





1 




^H^^I^H 




^:^ 




^^^^HH^I 




^¥w^ 




^^^^^E^^^^H 




u If [■ 




l^tt^^^^^^l 


^^El 






Hh 


^^^?i ^ 


E 




H| 




1 




^9 



Hoherpriester mit einem Bucli 
A High-priest with a Booli Uni 1632 Graiul-pretre avec uii livre 




I 





I (Dancmark), J. Hage 



Portrait of a Lady 



Weibliches Bildnis 



Aul Holz, H.O,7t;5, B. 0,59 

Portrait d'une dame 




' Richmond, Sir Francis Coolc 

The Sister of Rembrandt 



Rembrandts Schwester 
1632 



Auf Leinwand, H. 0,68, B. 0,53 

La scEur de Rembrandt 




s-^ i 



8 I 

I I 

I I 








Rembrandt 7 





ex 2 

I 




H. 0,72, B. 0,655 



Rembrandts Schwester 



The Sister of Rembrandt 



La soeur de Rembrandt 




Junge Frau, der eine Alte die Nagel beschneidet 
old Woman 



Jeune femme dent les ongles sont coupes 
par une vieille femme 




Reims, P. Charbonne; 

Minerva 



Auf H0I2, H. 0,435, B. 0,35 




Portrait of an Officer 




, Liechtenstein-Galerle Auf Lelnwand, H, 1,0! 

Junges Madchen bei der Toilette 
The Toilet of a young Girl 1632 Toilette d'une jeune fille 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 




The Rape of Proserpii 



Auf Holz, H. 0,83, B. 

Der Raub der Proserpina 

Um 1652 L'enlevement de Proserpine 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 




Bildnis eines Hcrren aus tier Familie van Beresteyn 

Portrait of a Man from the Family Portrait d'un homme de la famil 

van Beresteyn '"- van Beresteyn 




'York, Henry O. Haveraeyer Auf Lelnwand, H. 1,12, B. 0, 

Bildnis einer Dame aus der Familie van Beresteyn 

Portrait of a Lady from the Family Portait d'une dame de la familie 

van Beresteyn van Beresteyn 




' Paris, Baron Alphons von Rothschild Aiil HoU, II. 0.7j, 8.0,555 

Bildnis einer alten Dame 
Portrait of an old Lady 1632 Portrait dune vicillc dame 




"London, G.Lindsay Holford Auf IIolz, H. 0,9:1, B. i 

Bildnis des Martin Looten 

1632 
Portrait of Martin Looten Portrait de Martin Looten 



Nach einer Aufnahme von Braun, Cli^ment & Cie., Dornach (Elsass) 




Bildnis des Jan Pellicorne mit seinem Sohne Caspar 

Portrait of Jan Pellicorne ,, , Portrait de Jean Pellicorne 

with his Son Caspar " avec son fils Gaspard 



, Mansell & Co.. 




Bildnis der Gattin des Jan Pellicorne mit ihrer Tochter 
Portrait of the Wife of Jan Pellicorne ,„,„ 

with her Daughter "^ 



. W. A. Mansell & Co., Lon 



»New York, James W. Ellsworth 



Mannliches Bildnis 

1632 



Portrait of a Man 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Au( Holz, H. 0,72, B. 0,52 

Portrait d'un homine 







I % 




•Paris, Henri Pereire Aul Holz. H. 0,60, B- 0,47 

Bildnis des Gatten der Cornelia Pronck 
Portrait of the Husband of Cornelia Proncli 1632 Portrait du mari de Cornelie Pronck 



Nach elner Aufnahme von Braun, CliSment & Cie., Dornach (Elsass) 




'Paris, Henri Pereire Auf Holz, H. 0,60, B. 0,47 

Bildnis der Cornelia Pronck 
Portrait of Cornelia Pronck 1633 Portrait de Cornelie Pronely 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rembrandt 10 




The Philosopher 



Der Philosoph 

Urn 1633 



Le philosophe 




Der Philosoph 



Auf Holz, H.O,M, B.0,J3 

The Philosopher ui33 Le philosophe 

Nach Aufrialimcn von Braun, CU-ment & Cic. Dornach (Elsass) 




* Paris, Graf Edmond Pourtaliis 



Portrait of a Man 

Nach I 



Mannliches Bildnis 



1 Braun, ClSment , 



Portrait d'lin homme 

, Dornacli (Elsass) 



■i 

1 


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^1 


M 'fl 

i 


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™ 





Der barmherzige Samariter 
The good Samaritan Um 1632—1633 Le bon Samaritain 




•New York, Jlck.TwomWy 



Portrait of an Oriental 



Bildnis eines Orientalen 



Leinwand, H. 



Portrait d'un Oriental 




Johann Uyttenbogaert 

1633 




* Stockholm, Nationalmu 



Auf Leinwand, H.0,71, B.0,60 



Johann Uyttenbogaert 

Urn 1633 



J 




■ 


A 


^ ^^^^^jHj 


K 4 


i^ 


>^j^^m'^'M 


M 


1 


Bf/^ 


1 



' Briissel, L^on Jan 



Studienkopf 

1633 




Portrait of a M 




Portrait of a Lady 



Bildnis einer Dame 
Urn 1633 



Portrait d'une dame 




gs 





"^London, Nationalgalerie 



Christus vor Pilatus 



Christ before Pilatus 



Le Clirist devant Pilate 



Franz Hanfstaengl, Munchen 




ris, Madame Andre-Jacqucmart 



Auf Lcinwand, H. 0,6S5. B. 0,555 



Saskia van Uijlenburgh 

1632 



Nacli einer Gravure im Verlage voii Sclicltc 




^^^^^^^^^^^^^" 


M 






^B; ■■ W*^ 1 





I I ^ 



Rembrandt 13 




Philadelphia, P. A. B W 



Saskia van Uijlcnburgh 

Urn 1633 




' London, Herzog von Buccleuch 



Bildnis der Saskia als Flora 
Portrait of Saskia as Flora 1633 Portrait de Saskie en Flore 




K 


w 


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^^^^H 


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^^Hi 


' >1 


Ik '^^m 


^hha 


L^iP 


^^"^^Hi 


■M 




^^^^^^^^^1 


^^IH 


r/; - -^ ':->:.:-• :■--'. ^~- 


HhM^I 




•Dresden, Kgl. Gemaldegaler 



Selbstbildnis des Kiinstlers mit seiner Gattin Saskia 
Rembrandt and Saskia Um 1636—1637 L'artiste et sa femme 



Nach einer Aufnahme von Franz Hanfstaengl, Mun 





g 3 = 




Saskia van Uijlenburgh 

1636 



Rembrandt 14 




Portrait of Rembrandt 



Selbstbildnis 

1634 



Auf Holz, H. 0,68, B. 0,53 

Portrait de I'artiste 
& Cie., Dornach (Elsass) 




Der unglaubige Thomas 
The Incredulity of St. Thomas 163-4 L'iiicrediilite de St-Thomas 



Nach einer Aufnahme von Fran 




« Haag, Museum Auf Papier, H. 0,383, B. 0,35 

Die Ruhe auf der Flucht nach Aegypten 
The Rest during the Flight to Egypt Um 1634—1635 Le repos pendant la fuite en Egypte 




Bildnis dcs .Martin Day 
Portrait of Martin Day 1634 Portrait lie Martin Day 

Nach finer Aufnalimc von Braun, Ck-ment & r.le., Dorn.icli (Elsass) 




^ Paris, Baron Gustav von Rothschilii An 1 iii\\ m I' M HI 

Bildnis der Machteld van Doom 
Portrait of Machteld van Doom 1634 Portrait de Machteld van Doom 




ris, Henri Schneider Auf Leinwand, H. 1,73, B. 1,25 

Die Gattin des Hans Alenson 
The Wife of Hans Alenson 1634 La femme de Jean Alenson 




(■and, H. 1,06, B. 0,81 



Bildnis einer jungen Frau 
Portrait of a young Lady Urn 1634 Portrait d'une jeune femme 



Rembrandt 16 




Krieger den Panzer anlegend 
A Warrior dressing a Cuirass Urn 163-1 Un giierrier mettant iin cuirasse 




London, Wallace-Museum 



Aut Holz, H. 0,66, B. 0,505 



Ein Neger im Jagdkostum 
Negro in Hunting-dress Um 1634 Un negre en costume de chasse 




ST = 



Rembrandt 17 




'Dresden, Kgl. Gemaldegaler 

The Rape of Ganymedes 

Nach 



Auf Holz, H. 1,715, 

Ganymed in den Fangen des Adlers 

1635 L'enlevement de Ganymede 

Aufnahme von Franz Hanfstaengl, Miinchen 




2^ 





* Petersburg, Eremitage 

The Descent from the Cross 



Die Kreuzabnahme 

1634 



La descente de croix 



Franz HanfstaengI, Mijnchen 




Rembrandt 18 




<gl. Oeniaidegalerie 

Die Grablegung Cliristi 
The Entombment of Christ 1B35 



Aul Liinwand, H. 0.9/5. B. 0,68S 

La niise au tombeau 



!-ranz Hafifstaungl, 




Die Grablegung Chrisli 
The Entombment of Christ Um 1633-1634 



Auf^Holz, H. 0,32, B. 0,40 

La mise au tombeau 




* Heidelberg, Professor [ 
The good Samaritan 

Nach 



Der barmherzige Samarite 

1631 
lahme der Verlagsanstalt F. Bruckr 



Le bon Samaritain 




•New York, Josepl 



Petronella Buys 

1635 



Mol/, H.0.76, B.0,3S 




Aul Holz, H. 0,77, B. 0,64 

Portrait d'une dame 




*Edinburg, Arthur Sanderson 

Portrait of an old Lady 

Nach einer Graviire im Verlagt 



Bildnis einer alien Dame 

1635 Portrait d'une vieille dame 



Rembrandt 19 




* Petersburg. Eremitage 

The Sacrifice of Abraham 
Nach 



Abrahams Opfer 

1635 Le sacrifice d' Abraham 




^Munchen, Alte Pinakothek 

The Sacrifice of Abraham 
Nach I 



Abrahams Opfer 



Le sacrifice d'Abraham 



Franz Hanfstaengl, Miinche 




The Standard-bearer 



Der Fahnentrager 

Urn 1635 



Le porte-drapeau 



Cie., Dornach (Elsass; 






^^f^%y ^^^^^^^^^^K 








\ ''"^^^^ligl!'" •" ' • 




, ; :'-^ 




i t 




n, Galerie Six Auf Pappe, H. 0,50, B. 0,38 

Joseph seine Traume erzahlend 
Joseph relating his Dreams 1636 Joseph racontant ses songes 



Nach einer Aufnahme der Verlagsanstalt F. Bruckrr 




Miinnliches Bildnis 



Portrait o( a Man 



rtrait d iin liomme 



Frnnz H.iiilsl;icnKl, Miinchcn 




»Wien, Liechtenstein-Oalerie 

Portrait of a Lady 



ildnis einer Dame 

1636 



Portrait d'une dame 



Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 




■Brvissel, HiTzo^ von AreniJtrB .Mil llulz. H. 0,4 

Tobias heilt seinen Vater 
Tobias healing his Father 16)6 Tobie guerissant son pere 



Nach einer Aufnahinc tk-r X'erlagsanstalt F. Brtickmann A.-O., 




Der Engel verlasst Tobias 
The Angel quitting Tobias 1S37 



Nach einer Aufnahme ■ 



L'ange quittant Tobie 
Braun, Clement & Cie., Dornach (Eisass) 




Petersburg, Eremitage 

Abraham bewirtet die drei Engel 

(Ausschnitt) 

Abraham receiving the three Angels Abraham recevant les trois anges 

(Detail) (Detail) 

Nach einer Aufnalime von Braun, Clement & Cie., Dornach (Elsass) 




*Ant\verpen, Kgl. Museum 

Portrait of the Preacher Eleazar Swalmius 

Nach 



Bildnis dcs Predigers Eleazar Swalmius 

637 Portrait du predicateur Eleazar Swalmius 



6ment & Cie., Dornach (Elsass) 




, Bridgewater-Oalerie Auf Leinwand, H. 1,: 

Bildnis eines Geistlichen 
Portrait of a Clergyman 1637 Portrait d'un ecclesiastique 




= s 





Der heilige Franz im Gebet 

1637 St-Fran?ois en prieres 




London. Captain Heywood-Limsdali 



Portrait of Rembrandt 



Selbstbildnis 

1638 (?; 



Portrait de I'artlste 




Abbey, Herzog 



Portrait of Rembrandt 



Selbstbildnis 

Um 1638 



Portrait de I'artiste 




» London, Buckingtiam-Palast Auf Holz, H. 0,585, 

Christus als Gartner 
Christ appearing to Mary Magdalen 1638 Le Christ apparait a Ste-Madeleine 



Franz HanfstaengI, Mu 




J3 S 




* Braunschweig, Herzogl. Museum 

A Landscape 

Nacli einc 



Paysage 



crlagsanslalt F. Bruckmann A.-O., Mlinclien 




Dead Peacocks 



\i]f Lciinvand, H 1,375, B. 1,29 

Des paons morts 





o i 




Rembrandt 23 





178 




Weede van Dijkveld) 

Weibliches Bildnis 



Holz, H. l.oe, B. 0,81 



Portrait of a Lady 



Portrait d'une dame 



- Aufnalime von f-'n 




k, Henry O. Havemeyer 



Holz, H. 0,73, B. 0,54 



Herman Doomer 

1640 




A Landscape with a Bridgi 




The Holv Family 



Die heilige Familie 

1G4II La saiiite familie 

(dite Le Menage du Alenuisier) 

Braun, Cliraeiit * Cle., Dornach (Elsass) 




^- London, Herzog von Westm 



The Visitation 



Holz, H. 0,565, B. 0,475 



Besuch der Maria bei Elisabeth 

1640 



Braun, Cltment & Cif 



Rembrandt 24 




* London, Nationalgalerie 

Portrait of Rembrandt 



Selbstbildnis 

1640 



Auf Leinwand, H. 0,975, B. 0,79 

Portrait de I'artiste 



I Franz Hanfstaengl, Miin 




~ Dresden, Ks'. Gemaldegalerie 

Saskia with the red Flower 



Auf Holz, H. 0,9S5, B. 0,825 

Saskia mit der roten Blume 

1641 Saskia tenant une fleur rouge a la main 



Franz Hanfstaengl, Mij 




"^ London Buck ngham Pala 

Portrait of a Lady with a Fan 

Nach einer Aufnahmi 



Auf Leinwand, H. 1,045, B. 0,85 

Das Portrait einer Dame mit Facher 

.641 Portrait d'une femme tenant un eventail 

Franz Hanfstaengl, Munchen 




■Amsterdam, Galerie Six Auf Holz, H. 1,00, B. ( 

Bildnis der Anna Wymer 
Portrait of Anna Wymer 1641 Portrait d'Anne Wymer 



Verlagsanstalt F. Bruckn 



,-Q., Miin 



Rembrandt 25 




♦Petersburg, Eremitage Auf Holz, H. 0,73, B. 0,615 

Die Aussohnung Davids mit Absalon 
The Reconciliation of David and Absalom 1642 La reconciliation de David et dAbsalom 



Aufnahme von Franz Hanfstaengl, Munchen 




Amsterdam, Reichsmuseum 



The Night-watch 
(Detail) 



Die Nachtwache 



Aufnahme von Braun, Clement & Cie., Dornach (Elsa 



La ronde de nuit 
(Detail) 




Bildnis der Elisabeth Jacobs Bas 
Portrait of Elisabetli Jacobs Bas Um 1642 Portrait d'Elisabeth Jacobs Bas 



MnK- von Franz Hanlslacnijl, Miincli 




Amsterdam, Rei 

Bildnis der Elisabeth Jacobs Bas 

Portrait of Elisabeth Jacobs Bas (Ausschnitt) Portrait d'Elisabeth Jacobs Bas 

(Detail) (Detail) 

Nach einer Aufnahme von Franz HanfstaengI, Munchen 



r- 




Ni 




jj 


r& 





' London, Nationalgalerie Aut Holz, H. 0,325, B. 0,275 

Christus vom Kreuz genomraen 
Christ taken down from the Cross Um 1642 Le Christ detache de la croix 



nfstaengi, Munchen 



Rembrandt 26 




■-; Q, 2 





Nacli eincr Aiiiiialimc von Driiiin, Ck'mcnl »: i:ie., Doriiacli (ElsasO 




^London, Herzog 

Die Dame mit dem Facher 
Portrait of a Lady witii a Fan 1643 



La femme a I'eventail 

Nach elner Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 




1 - s 

ii 1 

t/3 3 ^ 




Rembrandt 27 




! York, Robert Hoe 

Junges Madchen eine Medaille zeigend 
A young Girl showing a Medal Um 1643 Jeiine iille montrant une medaille 




Bildnis eines Mannes mit einem Scluvert 
Portrait of a Man with a Sword 1644 L'homme a Tepee 



I eincr Aufnahme von Brjun, Clement & Cic, Dornach (Elsass) 




Portrait of a Man 



Mannliches Bildnis 

1644 



Portrait d'un liomme 



Gescllschaft, Berl 




Portrait of a young Ma 



Bildnis eines jungen Mannes 



Portrait d'un jeiine homme 




Portrait of a young Lady 

Nach ei 



Auf Holz, H. 0,915, B. ( 

Bildnis einer jungen Frau 

1644 Portrait d'une jeune femme 



Cie., Dornach (Els, 




ndon, Nationalgalerie 

Christus und die Ehebrecherin 
The Woman taken in Adultery 1644 



Holz, H. 0,815, B. 



La femme adultere 



Nach einer Aufnahme von Franz Hanfstaengl, Mun 



Rembrandt 28 



. 1 


c 


1 


3 




1 • 

( 




Portrait of an old Lady 



Auf Leinwand, H. 1,265, 

Bildnis einer alten Frau 

Um 1645 Portrait d'une vieille femme 



Dornach (Elsass) 




"Petersburg, Ereinitage 

The Holy Family 



Die lieilit;e Familie 



Auf Leinwand, H. 1,17, B. 0,9 



164.5 La sainte familie 

■ Aufnahme von Franz Hanfstaengl, Miinchen 





s =- 




■■Berlin, Frau von Carstanjen Auf Lein 

Bildnis des Predigers J. C. Sylvius 
Portrait of the Preacher J. C. Sylvius 1645 Portrait du predicateur J. C. Sylvius 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 




» Chicago, Art Institu 



Auf Leinwand, H. 1,00, B. 0,84 



Madchen hinter der Tiir 



A young Girl behind a Door 



ner Aufnahme von Braun, 



Une jeune fille derriere une porte 

; Cie., Dornach (Elsass) 




A young Girl 



Ein junges Madchen 
Urn 1645 




Beweinung Christi 
The Lamentation over Ctirist 1650 Le Christ mort pleure par les siens 




rlin, Kaiser Frledrich-Museum 

The Dream of Joseph 



Der Traum Josephs 

1645 



Le reve de Joseph 



Nach einer Aufnahme von Franz Hanfstaengl. 



Rembrandt 30 




"Milnchcn, Altc Pin 

Die Anbetung der Hirten 
The Adoration of the Shepherds 1646 L'adoration des bergers 



; Hantstaengl, Mijn 




^London, Nationalgalerie 

Die Anbetung der Hirten 
The Adoration of the Shepherds 1646 



Leinwand, H. 0,63, B. 0,555 



L'adoration des bergers 



Nach einer Aufnahn 



I Franz Hanfstaengl, Miinchen 





• Kassel, Kgl. Galerie 

A Landscape with Ruin 



Landschaft mit Ruinen auf dem Berg^ 



Paysage avcc des mines a la niontagne 

ii;l, Miinchen 




E .4 




Bildnis des Malcrs Claes Bcrchem (?) 
ainter Claes Bercliem (?) 1G47 Portrait du peintre Claes Berchem (?) 




* London, Herzog 



Bildnis der Frau des Claes Berchem (?) 
Portrait of the Wife of Claes Bercliem (?) 1647 Portrait de la femme de Claes Berchem (?) 



von Braun, Clement & Cie., Dornach (Els; 



J^^^^^^^^^ J^w ^^^-i ■ 





'Amsterdam, Oalerie Six Auf Holz, H. 0,19, B. 0,1 

Der Arzt Ephraim Bonus 
The Physician Ephraim Bonus Urn 1647 Le medecin Ephraim Bonus 




Hannah in the Temple 



Hanna im Tempel 



Hannah au temple 




^Pittsburg, H. C. Frick 

Portrait of a Painter 



ildnis eines Malers 

Urn 1648 



Portrait d'un peintre 




Der barmherzige Samariter 

164S Le bon Samaritaii 




Der barinlierzige Samariter 
I Samaritan Um 1()4S Le bon Samaritain 




Rembrandt 32 




Christus und die Jiingcr von Eminaus 
Christ and the Disciples of Emmaus 1648 Les pe 



■ Aufnahme von Braun, Cli^ment & Cie., 




Reiterbildiii; 
Portrait of a Rider 1649 



Portrait dun cavalier 




E Z 





1^0 




.■"J 


m' 


^ V.,?^ ,4p^^i% 






■■■' ■--"<. 


ii 





« London, Earl of Derby Auf Leinwand, H. 1,22, B. 0,97 

Jakob erhalt Josephs blutigen Rock 
Jacob receiving the bloody Coat of Joseph Um 1650 Jacob ie?oit la lunique ensanglantee de Joseph 



Verlage von Scheltema & Holkema, Amsterdam 




Paris, Jules Pori^is Aiil llul/, 11.0,66, B. 0,43 

Rembrandts Bruder 
The Brother of Rembrandt Um 1650 Le frere de Rembrandt 




■'Paris, Jules Porgi^s 

An old Woman 



Auf HoU, H. 0,56, B. 0,43 



Eine alte Frau 
Urn 1650 





Rembrandt 34 




Paris, Jules Porg^s Auf Leinwand, H. 0,9S, B. 0,78 

Alte Frau iiber das Gelesene nachdenkend 
An old Woman reflecting over the Lecture Um 1650 Vieille femme meditant sur la lecture 



Nach einer Gravure im Verlage von Schelteii 



■fci....^iMB 


H|^V 


- 

1 


W 


1 


W. I 


Ms ^1 


i 


r 




\ 


4. 


t 




^Newnham Paddox, Earl of Denbigh 



Der Abschied der Hagar 
Hagar quitting the House of Abraham Um 1650 Agar quittant la 




•i § 

'■3 E 



2 S. 

5 •= 




Rembrandt 35 




.einwaiul, H. 1,00, 



Studie nach einer jungen Frau (Hendrickje Stoffels) 
Study of a young Woman Um 1(W_> Etude d'apres une jeune femme 



SclieUema & llo 




Auf Leinwand, H. 0,72, B. 0,60 

Bildnis der Hendrickje Stoffels 
Portrait of Hendrickje Stoffels Urn 1652 Portrait d'Hendrickje Stoffels 

Nacli einer Aufnahme von Braun, Clement & Cie., Dornacli (Elsass) 




'■Amsterdam, Qalerie Six 



Portrait of John Six 

Nach etner Aufnahme der Verlagsan; 



Auf Leinwand, H. 1,12, B. 1,02 

Bildnis des Jan Six 

1654 Portrait de Jean Six 




Rembrandt 37 




Portrait of a Man 



Mannliches Bildnis 

1655 



Portrait d'un liomme 




J 




'^ Harrogate (England), Rev. Mr. Sheepshanks 

Chrisfus und die Samariter 
Christ and tlie Samaritan Woman 1655 



Le Christ et la Samaritaine 




sHaigh Hall, Wigan (Earl of Crawford) 
Titus, the Son of Rembrandt 



Rembrandts Sohn Titus 

1655 



Auf Leinwand, H. 0,77, B. 0,63 

Tite, fils de Rembrandt 



Nach einer Graviire im Verlage ' 




o 







m «Mi^' -mm^ 


,-«i:i '1 WP\ 




^^^^mmf^mr^-'^i. #«,^-.>S^HBii\^ 



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Is 



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rsburg, Eremitage 

The Denial of St. Peter 



Petri Verleugnung 

Urn 1656 



Auf Leinwand, H ] 



iement de St-Pierre 



Franz HanfstaengI, Miiri 




St. Paul at the Writing-desk 



Petrus am Schreibtiscli 

Urn 1656 



St-Paiil a la table a ecrire 




•Kassel, Kgl. Oalerie Auf Leinwand, H. 1,20, B. 

Bildnis eines Architekten (?) 
Portrait of an Architect (?) 1655 Portrait d'un architecte (?) 




, Baron Alphons von Roth: 

Portrait of a Man 



Mannliches Bildnis 

Urn 1656 



Portrait d'un iiomme 




I I 




nburg Nationalgalerie 

Hendrickje Stoffels in Bed 



Hendrickje Stoffels im Belt 

1657 



endrickje Stoffels 




' Penrhyn Castle, 



Auf Leinwand, H. 1,245. B. 0,96^ 

Bildnis der Katharina Hooghsaet 
Portrait o( Catharine Hooghsaet 1657 Portrait de Catherine Hooghsaet 



Scheltema S: Holke 




Privatbesitz 



Bildnis eines jungen Mannes 
Portrait of a young Man Um 1657 Portrait d'un jeune homme 



Rembrandt 41 



- > 


:-:,0-^=^ 







Triumphzug eines romischen Feldherrn 
The Triumph of a Roman General Um 1657—1660 L'entree triomphale d'un general remain 




'■■ London, Buckingham-Palast 

Die Anbetung der Konige 
The Adoration of the Magi 1657 



Auf Holz, H, 1,22, 

L'adoration des rois 



Aufnahme von Franz Hanfstaengl, Miin 




I I 




' Paris, Moritz Kann 



Portrait of a young Man 



Auf Leinwand, H. 1,08, B. 0,85 

Bildnis eines jungen Marines 

1658 Portrait d'un jeune homme 




i i 




^ Schloss Pawlowsk b. St. Petersburg 



Christus 

Urn 1658 




Paris, Moritz Kann 







U = .5 




■ Melbury Park, Eai 

Portrait of Rembrandt 



Leinwand, H. 

Portrait de I'artiste 



^^erlage von Scheltema & Holkema, Amsterda 




' London, G. Lindsay Holford 
Titus, the Son of Rembrandt 
Nach ein 



Rembrandts Sohn 


Titus 




Auf Leinwand, H. 0,76, B. 0,635 


Urn 1658-1660 






Tite, 


le fils de Rembrandt 


ahme von Braun, C14men 


s Cie. 


Dornach 


(Elsass) 





■ 


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3 — 
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Bildnis der Hendrickje Stoffels 
Portrait of Hendrickje Stoffels Um 1658—1659 Portrait d'Hendrickje Stoffels 



Nach einer Aufnahme von Frnnz 




Portrait of Rembrandt 



Portrait de I'artiste 




* Duncombe Park, Earl of Fevershai 



Portrait of a Man 



Mannliches Bildnis 
1659 



Portrait d'un homme 




■ London Herzog \on BuLCleuth 

Selbstbildnis 

Portrait of Rembrandt 1659 

Nach einer Giavure ira Verlage von Schelteraa 5: Holke 



Auf Leinwand, H. 0,68, B. 0,53 

Portrait de I'artiste 




Rembrandt 44 




Portrait ol a Man 



Mannliches Bildnis 

Urn 1660 



Portrait d'un homme 



Nach elner Au 



1 Biaun, Clement & Cie., Doriiach (Elsass) 




Petersburg, Furst Yussupoff 

Portrait of a Lady 



Weibliches Bildnis 

Urn 1660 



Auf Leinwand, H. 0,99, B. 0,825 

Portrait d'une dame 



; Cie.. Dornach (Elsass) 




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Leinwand, H. 0,875, B. 0,76 



A praying Man 



Betender Mann 

1661 



Homme en prieres 




352 




Rembrandt 45 




The Syndics of the Drapers 
(Detail) 



Die Syndic! der Tuchliandler 

(Aussdinitt) 



Les syndics des drapiers 



einer Aiifnahme von Braun, 




Leinwand, H, 0,945, B. 0,815 

Le Christ 





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-Epinal, Museum 



Auf Leinwand, H. 1,14, B. 0,80 



Eine Nonne 

1661 



Une religieuse 




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* London, Lady Wantage 

Portrait of an old Woman 



Bildnis einer alten Frau 



nd, H. 0,765, B. 0,&45 



Portrait d'une vieille femme 



Nach einer Aufnahme von Franz Hanfstaengl, 




Rembrandt 46 




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' Haag, Museum (Bredius) 
Two Negros 



vand, H. 0,77, E. ( 



Zwei Neger 



Deux negres 



I'erlagsanstalt F. Bruckmann A.-G., Miin 




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*Rossie Priory, Earl of Kinnaird 



Auf Leinwand, H. 0,91, B. 0,76 



Portrait of Rembrandt 



Portrait de I'artiste 




* Althorp House, Earl of Spencer 

The Circumcision 



Beschneidung 



Jinwand, H. 0,565, B. 0,75 

La circoncision 



Franz HanfstaengI, Mii 




The Supper of Claudii 



Das Mahl des Claudius Civilis 
Civilis 1661 Le repas de nuit de Claudius Civilis 





2 s 

a. g 




Rembrandt 47 




'Petersburg, Dr. Oxhotschinsky 

Portrait of on old Man 



lildnis eines alten Mannes 

Um 1662 Portrait d'un 




Moritz Kann 



Portrait of a Man 



Mannliches Bildnis 

Um 1662—1665 



Auf Leinwand, H. 0,93, B. 0,73 

Portrait d'un tiomme 




3 J 





Pittsburg (Nordamerika), Charles M bclnv 

Portrait of a Man 



Mannliches Bildnis 

Urn 1663 



Portrait d'un liomme 




London, Lord Iveagh 

Portrait of Rembrandt 



Selbstbildnis 

Um 1663 



Nach einer Gravure im Verlage von Scbeltc 




Lord Leconfield Auf Leinwatid, H. 0,83, B. 1 

Kochin am Fenster 
A Cookmaid at the Window Um 1664 Une cuisiniere a la fenetre 



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': New York, Metropolitan-Museu 

Portrait of a Man 



Mannliches Bildnis 



Auf Leinwand, H. 0,71, B, 0.63 

Portrait d'un homrae 




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»London, Alfred Beit Auf LeinwancI, H. 1,02, B. 0,83 

Bildnis eines jungen Mannes 
Portrait of a young Man 1667 Portrait d'un jeune homme 



ANHANG 




study for an Angel 



Studie zu einem Engel 

Urn 1655-1660 



Etude d'un ange 



LIBRARY OF CONGRESS 

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021 183 045 1 



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